Actress Kate Mara is reportedly in talks to portray Ohio kidnap victim Michelle Knight in a TV movie. Knight, Amanda Berry and Gina DeJesus hit the headlines last year (May13), when they were rescued from their Cleveland captor's home after a decade-long ordeal, when a neighbour heard their screams for help.
Knight, who was sick Ariel Castro's first victim, claimed she suffered five miscarriages while she was held captive, and producers at Sony have been keen to adapt her desperate story ever since the dramatic rescue.
A source tells the New York Daily News, "They feel that Kate would be able to capture Michelle's vulnerability and psychological pain."
They are also looking to cast a "reasonably known TV actor" to play Castro and are reportedly considering Lincoln's David Costabile and Emilio Estevez for the kidnapper role.
In August (13), Castro was sentenced to life plus 1,000 years in prison, but he committed suicide by hanging himself with a bed sheet in his cell the following month (Sep13).

David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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Instead of following a ragtag team of brutes hired for a suicide mission to destroy an Earth-bound meteor Seeking a Friend for the End of the World plays out the apocalyptic "what if?" scenario from the everyman vantage point. Written and directed by Lorene Scafaria (Nick and Norah's Infinite Playlist) the film pairs average joe Dodge (Steve Carell) with wallflower Penny (Keira Knightley) for a journey across the east coast a hunt for Dodge's college sweetheart. Scafaria takes a character-first approach to her anti-blockbuster examining the end of the world with a pitch black sense of humor. But the road trip loses steam as it chugs along with the film's insistence to avoid Hollywood disaster tropes taking a toll on the entertainment value. Dodge and Penny are so normal they aren't that interesting to watch. In turn neither is Seeking a Friend.
Worse for Dodge than the whole "destruction of humanity" thing is the fact that he's facing it alone; his wife leaves him he has no real family and he hates nearly all of his friends. While everyone he knows is either hooking up or shooting up in hopes of going out on a high note Dodge buckles under the weight of an existential crisis that feels all too familiar. To his rescue is next-door neighbor Penny who insists the two hit the road together to go find Dodge's one-that-got-away. They don't have much of a choice as New York City is quickly overrun by Malatov cocktail-hurling riots.
When the catastrophe and societal chaos is seen through Dodge's eyes and Carell's complex interpretation of the straight man Scafaria hits all the marks. Watching Dodge tell his cleaning lady to go home because "What's the point?" is heartbreaking while his good friend's descent into frat boy madness for the same reasons nails mankind's vile tendencies. And through it all it's funny thanks to Carell's impeccable timing. When Dodge is eventually paired up with Penny the film meanders the two never unearthing what it is about each other that keeps them sticking together. The duo run into a kindly truck driver (who's hired an assassin to off him when he's unaware) a TGIFriday's-esque restaurant full of zany drugged up waiters and even one of Penny's ex-boyfriends whose locked down with automatic rifles and Ruffles chips in anticipation of the end. But Dodge and Penny's quest is mostly about the in-between moments the quitter grounded human reactions to the apocalypse. Even with great performers at the helm Seeking a Friend doesn't organically shape those moments so much as contrive them. In one scene Penny fondly recalls the wonders of listening to music on vinyl Dodge listening carefully and learning. It's a soft and low key discussion perfect juxtaposition against the big-scale problem at hand but when a twenty-something is explaining records to a guy nearing 50 it comes off as twee instead of truthful. The problem infiltrates most of Seeking a Friend's character moments.
Scafaria has an ear and eye for comedy but Seeking a Friend boldly reaches for something more. Sadly ambition doesn't translate to success a messy tonal mix that fail to make it all that engaging or emotional. Carell and Knightley serve the material as best they can but this is the end of the world an even that requires a little weight a little sensationalism and a little more than a casual road movie.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

Over the course of its 11 seasons, American Idol has produced a healthy supply of classic Idols. I’m not talking about the Carrie Underwoods or Jennifer Hudsons, superstars who, during their tenure on the show, only teased their future abilities, making us unsure as to whether they actually did have a shot to become an A-lister after the glitz of reality TV wore off. I’m talking about the classic Idols who not only accumulated an overzealous fanbase, but also managed to make an already addictive Idol even more intriguing, no matter their success level following the show. I’m referring Kelly Clarkson, Clay Aiken, Ruben Studdard, Fantasia, Bo Bice, David Cook, Kris Allen, Adam Lambert, Haley Reinhart, and, yes, I’d even say Blake Lewis, who revolutionized the series in ways no one gave him credit for. (No one truly made any song, as Randy would say, his or her own until Blake beat-boxed his way into our hearts, and then into obscurity, during Season 6.)
These Idols might not have been the most successful to grace the stage (Kelly withstanding), but they certainly were the most entertaining. They blew us away with their passion and talent, and drew us in even further with intriguing personalities. If we brought this to a rank, they might very well make up my Top 10, if we’re solely counting entertainment value on the Idol stage. So it’s surprising to hear the judges’ panel rank Joshua Ledet as one of the two best Idols of all time, when I’d be hard pressed to find him a spot in the Top 20.
Don’t get me wrong: Dude is talented and he might transform into an industry superstar, which is good since his “Ain’t Too Proud to Beg” suit made it clear he has no future as a botanist. But, unlike the judges, I can’t see what’s unique and exciting about the singer, who’s failed to garner enough criticism to encourage him to show us anything unique and exciting. Instead, week in and week out, our judges give him standing ovations for churning out performances more fit for season 3 than a post-David Cook season 11. Not only that, but they named him one of the best singers to ever exist in 50 years. So, sorry, Aretha Franklin, Freddie Mercury, Michael Jackson, and Beyoncé. Joshua, a star of a reality show on a network that made a name for itself airing a show about bored police officers that bust drunk idiots, has got you had.
Look, I understand hyperbole. It’s likely the judges don’t actually feel Joshua could be stacked against those greats, no matter how many times the ejector button shoots them out of their seats. But Joshua’s “Ain’t Too Proud to Beg” was a faithful cover of The Temptations hit that was only slightly better than George Huff’s rendition in Season 3. And, while Joshua ended “To Love Somebody” on many a high note, the performance was just as listenable as Clay Aiken’s version in Season 2, but no more. But perhaps nothing shows the judges’ unfair favoritism towards Joshua than their high praise of Joshua and Phillip’s duet of “You’ve Lost That Lovin’ Feeling,” a performance not only horrendous because of its pitchiness, but also because of the fact that Joshua and Phillip failed to play sweaty shirtless volleyball after the performance. Steven, in fact, labeled it “perfect,” despite the contestants’ inability to keep a straight face during the entire performance — they broke so often during the song, all it was missing was Jimmy Fallon.
NEXT: Phillip's Self-Sabotage?
One could even say the judges also harbor favoritism for our favorite pawn shop worker, Phillip, who brought us self-sabotage of Jason Castro levels last night. There was the aforementioned “Lovin’ Feeling,” the worst duet to hit the Idol stage since James Durbin’s and Jacob Lusk’s “I’m Into Something Good.” There was his take on The Zombies’ “Time of the Season,” which saw him struggling on high notes he should have never attempted to hit. (The judges might have been surprised with his straight-forward take, saying, “He can really sing the melody!” but they failed to take into account that he couldn’t sing it well.) Then there was the biggest Idol no-no of all: The heartthrob brought his girlfriend to CBS Television City. Phillip had to have known that would send a flurry of his fans straight to their Lisa Frank diaries, where they bitterly write down Joshua’s phone number, sniffling away the tears as they realized that maybe Phillip wasn’t singing right at them every Wednesday night after all. Sniff.
But, as much as I adore Phillip and the gray, cringe-y way he makes Tommy Hilfiger cringe, self-sabotage is hardly as dumb as pairing with the cowboy during group week. In fact, Phillip would be much better off being sent home Thursday night, a scenario as plausible as the possibility that J. Lo will wear sequins and make me wonder who her very talented doctor is. As we’ve seen over the course of the past 11 seasons, a rock star winner on Idol is faced with a disadvantage. Forced into the music scene as a solo act showered in confetti on reality television, rock winners — see: David Cook, Kris Allen, Lee DeWyze — have found it difficult to build cred in the industry. On the other hand, an artist like Chris Daughtry — who was just as recording-ready as Phillip during his tenure on Idol in Season 4 — managed to accumulate a group of fans dedicated to making sure he built the acclaim and respect he so deserved on the reality show. Because, at this point, Phillip doesn’t need Idol. He know who he is and what kind of album he needs to record — one that should include lovely and listenable performances like “The Letter.” As guest mentor Steven Van Zandt said, “Leave him alone. He’s good. Badabing, badaboom, parkway, other New Jersey stereotypical phrases.”
It’s hard to believe I’m imagining an Idol world in which Phillip goes home, and Hollie may stay. What is this, opposite night? Am I now supposed to compliment Brian Dunkleman on his hosting skills last night? Where am I? What year is it? How did I get here? Who does No. 2 work for? But not only do I believe Hollie will stay, but I believe she should stay. Granted, Idol set up her underdog storyline perfectly: After being at the receiving end of insults from judges and fans alike, Hollie began her Idol climb last week with, appropriately, “The Climb.” And now, we hand the British lass a British Night theme. Cut to: A tepid performance of Tina Turner’s “River Deep, Mountain High” that the judges conveniently failed to criticize as much as Jessica Sanchez’s Tina Turner cover, and a version of “Bleeding Love” that allows audiences to compare her with another reality show winner, the U.K. X Factor’s Leona Lewis. (Even though Steven couldn’t, since he managed to avoid all radios and doctor’s offices in 2007, having never heard the song before.) It’s no surprise the show seems to be supporting the contestant: Idol would be better off with Hollie on the show — there’s nothing the reality series’ viewers love more than to bash a contestant that undeservingly outlasted their favorite. (See: Danny Gokey, Sanjaya Malakar, Syesha Mercado, Scott Savol, etc.) To rid Idol of Hollie rids the show of some of some desirable intrigue that could make The Voice-hating ratings fairies at Fox celebrate.
NEXT: Where does Skylar fit in?
So I wouldn’t be surprised if Hollie’s reality-friendly storyline picked up the young female vote. Which means Season 11’s other young girls might also be in jeopardy come Thursday, especially if audiences failed to connect with Jessica’s spirited-but-disturbingly-sexy cover of “Proud Mary,” presumably performed against a backdrop of set items stolen from the set of Chicago. (I’ll take “Potently Inappropriate Dresses For a Teenager” for $600, Alex!) And it doesn’t help her cause that the judges criticized her for taking on the dragon that is Tina Turner, without having doled out the same criticism to supposed slayer Hollie. (Not to mention the fact that J. Lo wondered rhetorically, “How could you let this girl go home?” which pretty much introduces the possibility that Jessica could leave CBS Television City Thursday night.) But I’d find it impossible if anyone in the viewing was unable to connect with Jessica’s fittingly beautiful version of “You Are So Beautiful,” which was so alluring and perfectly executed, it’s despicable to think the young singer has never been gifted Idol’s pimp spot. (Predictably, Joshua scored the spot Wednesday night for the second time.) Come on, Nigel! She’s sitting on the floor! In the name of Fantasia and Katharine McPhee, don’t you know that floor-sitting leads to an automatic Idol moment?!
And then that leaves us with Skylar, the consummate professional who, week in and week out, offers up fun performances so contagious, I hope a trip with CBS Television City comes complete with a CDC vaccine shot. But that’s precisely her problem: Skylar lacks not only the tearful histrionics that garners votes, but the intriguing storyline that sends fans racing to their cell phones. Joshua is the anointed one, Phillip is the rebel, Jessica is the victim, and Hollie is the dark horse. But how do you categorize Skylar? Sure, her “Fortunate Son,” was a perfect song to show off her stage presence, and anyone who didn’t fall for “You Don’t Have to Say You Love Me” is as weird as that couple on the bench. But the CCR song’s counter-culture theme might not gel with her fanbase, and Skylar’s latter performance is far too perfect a swan song to quell my nerves surrounding her fate Thursday night. And after her bottom three visit last week, perhaps only luck will keep her from riding an ATV right out of CBS Television City. Perhaps she should have performed “Knock on Wood” after all.
Do you get the Joshua hype, readers? Who’s headed home Thursday? Did Jessica, Skylar, and Hollie sing “Higher and Higher,” or was the song performed by a series of American Girl Dolls? Why did Elise Testone get a goodbye montage in the opening credits, but Colton Dixon didn’t last week? And did Steven Van Zandt learn his chair-sitting etiquette from Flashdance?
Follow Kate on Twitter @HWKateWard
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Year in and year out, the American Idol judges’ panel claims the current crop of contestants is the best. Top 13. Of. All. Time. While it’s most certainly up for debate whether or not season 11 is made up of the most talented singers — season 7 would raise Phillip a David Cook while season 8 would raise Joshua an Adam Lambert — it seems after last night that we’re certainly looking at the smartest Top 13. Of. All. Time. While the remaining six contestants all presented viewers with perfectly enjoyable, tap-your-knee renditions of Queen’s greatest hits, they also picked (with the exception of our dear magical pixie Hollie) more obscure songs for their personal choice number.
Jennifer Lopez might have thought this was a risky endeavor, but, then again, so is showing up to a televised pop culture event without Kelly and Michelle to wear House of Dereon alongside you. Or officially passing the People’s Most Beautiful torch to Beyoncé via one of MC Hammer’s old pairs of pajamas. Or going anywhere without your trusty sidekick R2D2. I can’t stop. So… many… jokes about J. Lo’s outfit. Help us, Tommy Hilfiger, you’re our only hope!
But we can’t say Jennifer was wrong to label the song choices risky Wednesday night. But we can say they were as smart as Hollie desperately pleading with a sympathetic audience to save her. If these past few weeks have proved anything, it’s that American Idol is an unpredictable beast. But these past few years have proved it’s also the biggest media outlet on which to showcase your talent and musical style. For our Top 6, Idol is not so much about winning anymore — it’s about attracting a record label that will suit your musical needs and desires. Sure, Phillip, Elise, and Joshua could win performing lazy covers of crowd-pleasers like “Against All Odds,” “I Have Nothing,” and “Hallelujah,” but what can you lose by showing viewers and record labels who you really are?
NEXT: Phillip Phillips: Master of The (Kidney) StoneFor example, take Phillip Phillips. During his first number — an aggressive rendition of “Fat-Bottomed Girls” that left his face so cherry-red, I thought he would pop, much like many girls hearing the words “Phillip,” “cherry,” and ”pop” in the same sentence — I feared he might be walking into Jason Castro territory. After all, why not sabotage yourself on a series in which sensitive rockers have struggled following their respective victories? (I still love you though, David Cook and Kris Allen. And I still love to quickly change your iTunes version of “Treat Her Like a Lady” when I fear the stranger on the subway next to me is peering over my shoulder, Lee DeWyze.) But lest you think his choice to sing Dave Matthews was an attempt to mock his own reputation, just listen to his rendition of the aptly titled “The Stone.” It will kick you right in the kidney. The song’s lyrics even seem to atone to more lazy performances like “Fat-Bottomed Girls”: “Oh, I’ve been praying / For some way to show them / I’m not what they see.”
But the best part about Phillip is that — during most of his performances, like “Movin’ Out,” “U Got It Bad,” and “Still Rainin’” — Phillip is what the audience sees. As Randy told the contestant in a rare moment of poetic lucidity, “Die, sink, or swim, Phil Phillips will always be Phil Phillips.” We’re talking about a guy who so refuses to change, he won’t even wear a primary color. This isn’t a contestant who will unwisely sing “Smells Like Teen Spirit” or “Proud to be an American” in an attempt to get votes — this is a singer who knows exactly who he is: A former pawn shop worker who can carry a tune as well as he can carry a large stuffed turkey. And nothing could be more attractive to a record company than an attractive singer who can attract a legion of fans through an already patented brand of music.
For Joshua Ledet, that brand of music is a little more unclear. Though the vocal powerhouse has become a judges’ favorite via his gospel take on hits, he’s realized he could find better success and marketability channeling the likes of Bruno Mars. It’s a smart segue, and an effective one — though Tim Urban, David Radford, Taylor Hicks, and Fantasia tried before him, not one Idol contestant had delivered a semi-decent version of “Crazy Little Thing Called Love” until Joshua stuck his retro-soul stamp on the song.
Smart as he may be, though, Idol’s judges have been rash in their judgments, doing the contestant little service leading up to the Top 5. Let me break it down for you: Twelve standing ovations. Twelve. Just how many solos have we seen from Joshua since the semifinals? Eleven, including Wednesday night’s “Ready For Love,” which, interesting a song choice it may be, hardly made me ready to get on my feet. Look, many of them were deserved, but the judges have been giving away standing ovations like a 2007 hipster gives away Juno quotes about China giving away babies like free iPods, Homeskillet. Not only does that turn off cynical Idol viewers looking for reasons to conspiracy theorize that Joshua is the target of judge favoritism (J. Lo literally telling Joshua that he’s her favorite doesn’t help), but it also makes it difficult for viewers to distinguish when we should really be blown away by Joshua. If every performance is special enough to receive a standing ovation, then, really, no performance is special enough to receive a standing ovation. You may want to give him “four checks” after every song, but, Randy, you’ve got to make sure you give him a balance of critiques.
NEXT: Boldly go where no one wants to ever go. Elise Testone might have evolved enough over the course of the competition to realize her strength resides in bohemian rock, but the contestant has yet to reign in her vocal style, just like she has yet to reign in her personal style. Singing in front of a ridiculous backdrop featuring the alphabet — the letters of which Randy furiously collected so he could later ask Joshua to sing them — Elise did rock out on “I Want It All,” finding her niche with a groovy beat and a tambourine. Or perhaps she simply connected with the title of the song, since it’s what she says every time she walks into a jewelry store.
But though her choice of Jimi Hendrix’s “Bold As Love” was refreshingly, well, bold, her execution of the song just made us wonder how the singer got Badger from Breaking Bad to accompany her on guitar. We needed the distraction hearing the performance — otherwise, we’d be forced to listen to the sound of Hendrix rolling in his grave. Honestly, “Bold As Love” is a difficult song to tackle, but Elise pounced on it like she was at WrestleMania. She beat out all of the song’s simplicity, turning it into a vanity number with as many runs as a Taco Bell bathroom. (SORRY!)
Surprisingly, though, on Wednesday night I wasn’t running from Hollie Cavanagh, who all but sealed a slot in the Top 5 thanks to a little help from her friends the producers (pimp spot!) and a crafty choice of song. First off was “Save Me” from Queen, one of those songs that can either work for you — literally demanding Idol’s voting fanbase to dial your number — or against you, placing you in the ranks of previous Idols with unfortunate cast-off songs. (Sorry, Charles Grigsby. Indeed, “You Can’t Win.”) Though I can’t be the only one uncomfortable with watching Hollie sing the lyric “I’m naked and I’m far from home,” which I’m pretty sure is the slogan for Four Loko.
NEXT: Hollie climbs?But as soon as Hollie was finished icily suggesting that Emily Thorne should stop dating her son Daniel, she changed into a fresh new wardrobe with a fresh new outlook to match. Typically, I hate contestants that sing the “I Believe I Can Fly” for the Twitter generation, but “The Climb” suited Hollie’s tone, helping us viewers remember the singer who expertly covered “The Power of Love” back during Top 11 week. Still, Hollie is hardly powerful enough to reach Idol’s confetti-filled summit, but this could help her climb the list of Idol’s power players.
Especially when Jessica Sanchez seems to be inviting Hollie to fill her teen-friendly slot in the competition. Ever since the contestant flirted with elimination two weeks back, she has yet to show us the return of that perky performer who somehow sucked in the maturity of a 50-something diva and channeled it into jaw-dropping performances like “I Will Always Love You.” (As my trusty Idol companion and mother said, “I feel like she got whipped and has no spirit in her heart.”) Despite the fact that Queen’s music somehow seemed to suit Jessica’s voice best — she sang circles around the rest of the Top 6 during the beginning group number — the contestant couldn’t quite deliver the proper drama needed to perform “Bohemian Rhapsody.” And that’s despite all the bells and whistles — the odd black-and-white footage, the backdrop that resembled a terrifying meth-induced nightmare… it all failed to even add up to the admittedly horrible, but no less entertaining, versions of the song we saw from the likes of Kellie Pickler and Constantine Maroulis (and paled in comparison to Michael Johns’ Hollywood version in season 7).
Of course, she made up for her lackluster “Bohemian Rhapsody” with a version of Luther Vandross’ “Dance With My Father” that had Grammy Performance written all over it. The gorgeous dress, dramatic lighting, wind machine that has gotten so much play, it might as well be named the seventh contestant — not to mention the vote-friendly family story behind her choosing the song. That said, though many might feel sympathy that Jessica’s father is being deployed to Singapore, she may be in danger of real elimination Thursday night. Not only because she was forced to sing in that cursed No. 1 slot, but also because the judges were less enthusiastic than Brian May at an Ace Young concert. In fact, even though J. Lo claimed Jessica’s “Dance With My Father” was the best version of the song she had ever heard, the trio failed to give the singer anything close to a standing ovation. Perhaps that’s just because they’re saving it for next week for when Joshua sings LFO’s “Summer Girls.”
And last, but most definitely not least, we have Skylar Laine, perhaps the smartest contestant of all. Who doesn’t reach for the pre-sale button knowing the contestant has a song under her noose-covered belt called “Diamond-Studded Pistol”? What religious Colton Dixon fan doesn’t shift their votes to Skylar after hearing she has a God-inspired tattoo? Who doesn’t turn up their televisions hearing her bursting version of “The Show Must Go On,” which came refreshingly devoid of the emotional histrionics reserved for most big Idol numbers? And who doesn’t have a hard time believing that “Tattoos on This Town” is actually a Jason Aldean song, and not a Skylar Laine original? Any other year, Skylar would be considered a favorite to win the whole shebang, but, with Joshua clinching the judge support, the young country star in the making might have to settle for being Idol’s dark horse. Still, I have a feeling this dark horse could ride straight into the finale, diamond-studded pistol in hand.
Readers, who do you think is the smartest Idol left? Was it not-so-smart for Hollie to accidentally call Skylar “thick-boned?” Was it nice to see Brian May and Roger Taylor back on Idol, especially when they’re not yelling at Ace Young? Did you wish Jimmy Iovine was around Wednesday to wear hats and coach contestants into choosing the wrong song? Why did Randy choose to talk when the pin on his jacket, “Yo,” could have pretty much done all the work for him? Was it not adorable watching Julianne Hough’s Phil Phillips crush be revealed — and then seeing her mouth “Oh s**t!” realizing cameras were filming her embarrassment? Can Ryan rock a pompadour? Is there any answer to that question besides “No”?
Follow Kate on Twitter @HWKateWard
[Photo Credit: FOX]
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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In the cinematic desert that is the January-February movie-release schedule one gains a greater appreciation for mere competence. And that’s precisely what you’ll get with Man on a Ledge a mid-budget thriller with modest aspirations and genuine popcorn appeal. Sam Worthington (Avatar Clash of the Titans) stars as Nick Cassidy a former New York City cop wrongly convicted for the theft of a prized diamond. After exhausting all judicial avenues for exoneration he takes the unusual and seemingly desperate next step of planting himself on a ledge outside the penthouse of midtown’s Roosevelt Hotel and threatening to jump. An NYPD psychologist (Elizabeth Banks) is summoned to talk him down unaware that Nick harbors an ulterior motive. From his perch above midtown he is secretly orchestrating a scheme to take revenge against the corrupt corporate chieftain (Ed Harris) who engineered his demise and prove his innocence once and for all.
Director Asger Leth making his U.S. feature-film debut with Man on a Ledge keeps the pace brisk and never allows the tone to stray into self-seriousness which is crucial for a movie whose premise is so devoutly ridiculous. The script from Pablo F. Fenjves provides enough feints and twists to keep us engaged. Jamie Bell and Genesis Rodriguez aren’t the most believable of couples but there’s a screwball charm to their comic routine as amateur thieves charged with aiding Nick’s scheme. (Leth can’t resist inserting an entirely superfluous – but nonetheless greatly appreciated – scene of the criminally gorgeous Rodriguez stripping down to a thong in the middle of a heist.) Worthington makes for a likable populist protagonist even if his Australian accent betrays him on copious occasions and Harris’ disturbingly emaciated frame lends an added menace to his devious plutocrat villain.

Remember Denny from Grey's Anatomy? Or Nancy Botwin's late Mr. Botwin on Weeds? In real life, he's known as Jeffrey Dean Morgan (or "doesn't that guy look like Javier Bardem?") and he's been making his way into more feature films like last year's The Losers and 2009's Watchmen. Now, he's looking at a chance to step away from all the ensemble action and step into the lead in an upcoming 10-episode drama, Magic City.
The Starz show is set in the 1960s and carries a suave leading man as he helms Miami's first big hotel and the hotbed for collisions between mobsters, politicians and entertainers. Morgan would play the hotelier who gets caught up in all the madness as Fidel Castro's hold on Cuba shuts down the Havana gambling scene and pushes the crime scene into Miami.
It looks like the show may being trying to piggy back off the success of Mad Men's historical and nostalgic, yet scathing look at the 60s in the U.S., but not obnoxiously so. The subject is distant enough that while they may gain interest because of the time period, we can be sure the Starz project will be its own thing.
Magic City will begin filming in Miami shortly and plans are in the works to release the series in 2012.
Source: Deadline

So, Men In Black 3D starts shooting in New York tomorrow. That means everything must be ready to go, right? You know, like actors lined up, director in charge, script in place. Wait. What's that, you say? The script isn't finished yet? But the movie is starting tomorrow! How could the script not be finished yet? Well, turns out, Hollywood is weird.
Just kidding, this is probably a pretty common occurrence, but it still seems a little odd to me. Here's what's actually going on. The big wigs at Columbia Pictures aren't completely satisfied with MIIIB's script (written by Etan Cohen and revised by David Koepp), so they've hired Jeff Nathanson (Catch Me If You Can) to polish things up a bit -- specifically, the time travel portion of the script.
So the studio is starting production tomorrow, but only on part of the script. Here's the plan. They're shooting the present day part through the week of Christmas, then production will halt for two months as Nathanson finishes up the time-travel portion. Then in February, production picks up again to film the time travel parts.
For those unaware, the film reunites Tommy Lee Jones and Will Smith. Josh Brolin is also starring, playing a younger version of Jones' character. And rumors are that famous figures such as Yoko Ono, Jimi Hendrix, Fidel Castro, Kareem Abdul-Jabbar, and Andy Warhol will make cameos. But, since the time travel portion is being re-written, who knows if those rumors are even remotely close to being true anymore.
Source: The Playlist